Yamaha Artist Services, Inc.
The American Liszt Society NY/NJ
Jeremy Jordan, Piano
(Jeremy Jordan Web Page)
Yamaha Artist Services, Inc.
689 Fifth Avenue at 54th Street
NY, NY 10022
Press: Gila Goldstein
Dr. Roberta E. Zlokower
January 16, 2014
Bach (1685-1750) – Busoni (1866-1924): Choral Prelude: Nun Komm Der Heiden Heiland
L.V. Beethoven (1770-1827): Sonata No. 24 in F# major, Op. 78
Frédéric Chopin (1810-1849): Polonaise Fantaisie, Op. 61, Polonaise, Op. 53, "Heroic"
Sergei Rachmaninoff (1873-1943): Études-Tableaux Op. 33 no. 3, 5, 9
Jeremy Jordan (b. 1989): Prelude in F major
Lennon (1940-1980)/McCartney (b. 1942): Blackbird
Cole Porter (1891-1964): Night and Day
Franz Liszt (1811-1886): Les Cloches de Genève
Richard Wagner (1813-1883): Siegfried's Funeral, Brünnhilde's Immolation
The American Liszt Society, founded in 1964, is committed to the legacy and educational inspiration of Franz Liszt, his influence on musical performance and composition, and his philosophy and contributions. Liszt’s Les Cloches de Genève was on tonight’s program at the Yamaha Performance Series. Jeremy Jordan, a recipient of many honors, who has performed chamber and solo concerts throughout Europe and the US, was tonight’s featured artist. His program included a Beethoven Sonata, jazz ballad improvisations, an original composition, and the work by Liszt, among other challenging works. Bach’s Choral-Prelude, on a Yamaha concert grand, was dreamlike and melancholy, with shifting volume. Mr. Jordan is a confident, poised new artist, who certainly has a bright future. And, the Yamaha concert space has what’s termed “a cutting-edge sound environment known as Yamaha Active Field Control”. The sound was clear and captivating. Each note in the Bach piece was unusually resonant.
In the Beethoven Sonata, Mr. Jordan began to relax in the event and deepen the experience. The piece was vibrant, with rapid keyboard trills. The first Chopin Polonaise was romantic and surreal, with elements evocative of Chopin’s Nocturnes. It ended in a crisp staccato. The second Polonaise varied in tones and tempos, with dramatic results. A beautiful variation was languorous and enveloping, in the moment. I heard details in this favorite work, never heard before. Rachmaninoff’s Études-Tableaux No. 3 had an expansive interpretation, with brief, rain-like notes that followed elongated phrases. No. 5 was filled with fervor and dervish, although brief. No. 9 was reverberating and disturbing, with a giant sound. The following original composition, Prelude in F major, from 2007, had a repetitive, echoing, bell-like theme. The higher notes carried the theme, with the deeper notes reverberating with jazzy, echoing sensitivity. The Lennon-McCartney “Blackbird” was played with fascinating similarities to Mr. Jordan’s original work, jazzy, reverberating, and introspective.
Cole Porter’s “Night and Day” followed, once again in Mr. Jordan’s unique style of classically infused, cerebral tones. Liszt’s Les Cloches de Genève was performed with yearning, balletic phrases. This was truly a warm, illuminated, solo concert. The final works, Wagner’s Siegfried's Funeral and Brünnhilde's Immolation, were wildly enthralling. The works began with a torrential, theatrical theme, demonstrating the full power of the Yamaha. Mr. Jordan’s piano transcriptions both exuded operatic, orchestral power. Kudos to Jeremy Jordan for a superb piano recital.